Shaping light, it’s all we do. I know there are the angles we choose, composition, and then the compromising camera settings to follow, but ultimately, it’s what’s in front of the camera that counts. Following the product shoot with the amazing crew at Day Job, I was introduced to the gobo (go-between). The cucoloris board is a great asset to have on board, along with a haze machine. The cucoloris board shapes light so it doesn’t look as artificial but still creates mood was the goal for this shoot for Meri Peti.
Antonio Pendone - Mixed Media Artist
Antonio has been a long time friend ever since we worked together at Bold Magazine. We collaborated on multiple articles for years. I learned of his artwork at this time and photographed his work in the past. Since taking up videography, I asked if I could make a small piece about his passion for art. Antonio is a mixed media artist with a wide variety of expressive work. I only had a chance to capture some of these mediums but regardless, it was amazing to see.
This video would be the first time I use Nikon’s new ProRes RAW feature. I rushed into Nikon so I can have the camera upgraded before the shoot. They would get it done in a couple of hours but send me home with someone else’s camera. I know this could happen to anyone but, it's just my luck that I would have to go back to across the city to exchange the camera. It was worth the effort because along with the increased file sizes, the amount of information you get from this new file format is unbelievable.
The interview portion was a tough scene where there is a bright window behind Antonio. I was able to bring it back a bit so it wasn't completely white. I was also able to save Antonio from being a silhouette with lighting. When working with a typical video file it is very limiting. Typically, you are forced to make your compromises in camera. I still strive to get my exposure correct in the camera. Even with a histogram/waveform and multiple monitors, you can still fail to nail that exposure. Having the ability to make extreme adjustments in post-production is a welcomed upgrade. We have this flexibility in a photo with RAW files, but now with video, we can capture more and faster. Mind you, we do pay for it with data storage where this project was about 400gb.
My First 85mm. Nikon nikkor Z 85mm f/1.8 S
Back on par with gear talk. Once you get a couple of photographers and videographers together, it an endless conversation about what we own, what we used to own and what we would like to one day own. This year, for me I managed to rebuild my kit to go fully mirrorless. I took a chance on the new Nikon Z6 at the end of last year and soon after, I dropped the Nikon D4 for another Z6. I know the cameras don’t look like much when you compare them to their parents, but it’s better in every way. Along with smaller more flexible cameras came the new series of lenses that deliver on their promises to be Better and sharper then their f-mount ancestors.
The new Nikkor Z 85mm f/1.8 S has been a masterpiece on the couple of jobs I’ve worked with it. The weight, the sharpness and bokeh has been outstanding. The 5-axis stabilization makes for smooth experience when compared to DSLRs. One of the best features of shooting mirrorless, apart from the size is seeing is believing. By that, when you look at your monitor and set your exposure, what you see is what you get. Nailing your exposure right out of camera is a huge time saver.
Because what you see is what you get, I have begun using more content light over slash in darker situations. Flash still has its roll in my work, especially in studio. In studio, it can be a bit of a challenge seeing when you have the aperture stopped down, but there’s a setting in camera to help with those situations. The image above is shot with a Aputure 300D MKii with a small octabank on it camera left. The best thing about constant light is seeing exactly what the photo will look like between shots. I find that you can also balance your lighting with ambient light to either build interest or highlight your subject.
I don’t usually bad mouth my Fujifilm GFX50S because its a great camera that produces amazing photos but, that continuous focus option should just not exist. The most simple tracking focus tasks end up failing and you are left with 1 GB of out of focus shots. The Nikon Z6 has this down pat, like all my past DSLRs. Being able to track, even at long focal lens is a godsend. The new S lenses from Nikon are quick to focus an for video purposes, super quiet. Nikon did a great job with the new 85mm f/1.8 S and I can’t wait for the what’s coming next year.
Karasu 2019 Look Book
With the new mirrorless cameras from Nikon, the possibility to jump into video is even greater. Nikon has been my choice from day one, solely because my dad had some old primes laying around and I could use them to start creating. The Nikon Z6 has proven to be a tiny, lightweight beast when it comes to providing beautiful images and video. Everything is perfect, from the weight to ergonomics. As I get older, smaller, lighter cameras are a welcome change. I have since traded in my old battle axes for the new mirrorless format.
On this shoot, we were able to make use of Nikon’s new LOG format N-LOG. The most surprising detail was the dynamic range. In the photography world, RAW files make the world of a difference when it comes to retaining detail in post production. It does spoil you when entering the video world. When looking at the footage, it’s amazing to see detail in the window, I was expecting them to be blown out.
I have strayed from the technical side and moved to the creative side. The technical aspect is good to know, but the creativity when it comes to shooting plays a bigger roll. When shooting video, all the small details count where photoshopping isn’t an option. Moving to video definitely opens your eyes to the fine details because no one what’s to do a pick up shoot.
Client: Karasu Clothing Company
Product Work
Shooting products are honestly one of harder subjects to shoot. Once you decide on the background and the base, it honestly becomes a game of inches with lighting. I usually tend to work with large modifiers that produce soft light, but when it comes to product, the opposite is needed. Hard light tends to produce the best gradients. To achieve gradients, grids are needed. Almost all lights used were grided. A tight grid was used to highlight the company name on the lid. I cannot stress the importance of using a modeling light, its the only ay to see what you will if you are placing the light
Look Up
It has been years since going on a street shoot. Street photography used to be my go to experiment with new techniques which I have read about. Everything from slow shutter panning shots to high DOF photos using a tripod to burn in a wide scene. I was asked to go shoot some architecture for Instagram and these were the few images created from a one hour walk around the financial district in Toronto.
I have to admit, it was a pleasure to go out and street shoot again. It was a bi-weekly occurrence when I was learning techniques, and it should continue. There is always more to learn and more weaknesses to strengthen.
Camera: Nikon D800 Lenses: Nikon 24-70mm f/2.8G ED & Nikon 50mm f/1.8G
Nikon D800 + Nikon 24-70mm f/2.8 at 31mm
Nikon D800 + Nikon 24-70mm f/2.8 at 24mm
Nikon D800 + Nikon 24-70mm f/2.8 at 70mm
Nikon D800 + Nikon 24-70mm f/2.8 at 70mm
OSC Cross Catalog
Photographing catalog images is all about nailing the look and coordinating time to make the most of the studio time. This day we shot 109 items for OSC Cross in a 8 hour period with all prep included. Photographing on white paper is no longer the status quo when it comes to product photography. We choose a textured background and an interesting floor, one that did not take the viewers eyes away from product itself. Lighting with direction and making sure there are controlled shadows helps bring interest to the products. Not only does it help show texture, but dimension which is important to the both the client when viewing the product, but for the manufacture, demonstrating a sound product. Priority always goes to the product on these shoots.
Loding
Luckily, during a press day at Loding, I had the chance to set up some big lights and capture the works of art put forward by their patina master. We were the last ones for the day, so the little extra time allowed me to go the extra mile when capturing his portrait and one off works of art.
